Teatro Colón
http://en.wikipedia.org/wiki/Teatro_Colón
photos
http://www.google.hr/search?q=teatro+colon+opera+house&client=opera&hs=riE&channel=suggest&tbm=isch&tbo=u&source=univ&sa=X&ei=lhbLUZHqEsrJ4ASooYCwCQ&ved=0CEkQsAQ&biw=1024&bih=651
Teatro Colón
Buenos Aires'
Premier Opera House
http://gosouthamerica.about.com/cs/southamerica/a/ArgTeatroColon.htm
The Impressive Teatro Colon Opera House in Buenos Aires
http://www.thetravelchica.com/2011/11/the-impressive-teatro-colon-opera-house-in-buenos-aires/
The Teatro Colón rebirth will bring tiers to your eyes
http://www.telegraph.co.uk/culture/music/opera/7750270/The-Teatro-Colon-rebirth-will-bring-tiers-to-your-eyes.html
ROH
The opera novice: Verdi's Don Carlo
Don Carlo is a grand opera of political intrigue and private
passions, says Sameer Rahim.
http://www.telegraph.co.uk/culture/music/opera/10050169/The-opera-novice-Verdis-Don-Carlo.html
The Big Question: why opera really is for anyone
Even if you have never been before, opera can be an
immediately gripping and moving art form, says Sameer Rahim.
http://www.telegraph.co.uk/culture/music/opera/the-big-question/9918226/The-Big-Question-why-opera-really-is-for-anyone.html
The Big Question: an etiquette guide to ballet and opera for
beginners
People are sometimes worried that they will do the wrong
thing at the opera. Our top five tips suggest there is no need to panic.
http://www.telegraph.co.uk/culture/music/opera/the-big-question/9922375/The-Big-Question-an-etiquette-guide-to-ballet-and-opera-for-beginners.html
Five tips for newbies
1. Don't worry about what to wear. There are people in black
tie but except at Glyndebourne, of course, when you have to wear black tie and
formal dress and some galas where a dress code will be specified, you can wear
pretty much what you want. Dress as if you were going to the theatre and don't
fret.
2. The audience
listens to the overture in reverential silence. But when there’s a
show-stopping aria don’t be surprised if they burst into appreciative applause
and shouts. The same goes for ballet. If someone does something on stage that
makes your heart stop, then they are likely to be applauded. Russian dancers,
in particular, expect to be applauded a lot.
3. If you are tempted
to join in the chorus of praise remember that opera and ballet lovers like
getting their Italian gender endings correct. So: “brava!” for a woman,
“bravo!” for man and “bravi!” for everyone. On the other hand, you can just
whistle, shout or stay entirely silent depending on your mood.
4. Listen out for boos. Unlike in straight theatre, opera
and more rarely ballet audiences are unafraid of expressing their views. Often
this is aimed at a particular performer, the conductor or – if it’s an
especially radical production – the director. This is particularly pronounced
in Italy,
where boos regularly greet the end of a production. Less so here, but not
unknown.
Opera singers need to be sensitive
Royal Opera House director of music Antonio Pappano is wrong
to moan about stars who cancel shows, says Rupert Christiansen.
http://www.telegraph.co.uk/culture/music/opera/9930191/Opera-singers-need-to-be-sensitive.html
The Big Question: 10 of the best ballet stars
http://www.telegraph.co.uk/culture/music/opera/the-big-question/9922701/The-Big-Question-10-of-the-best-ballet-stars.html?frame=2506217
The Big Question: Are opera and ballet elitist?
The Royal Opera House hosted the first in a series of
debates called The Big Question. Watch it here.
http://www.telegraph.co.uk/culture/music/opera/the-big-question/9909513/The-Big-Question-Are-opera-and-ballet-elitist.html
A History of Opera: the seductive power of song
Strip away the trappings of opera and what we are gripped by
is the magic of the human voice. This, says Ivan Hewett, is the quality that
will guarantee its future.
http://www.telegraph.co.uk/culture/music/opera/9656480/A-History-of-Opera-the-seductive-power-of-song.html
When classical music is for adults only
The starched suit of
the concert hall is being ripped open to reveal the X-rated passions beneath,
says Ivan Hewett
http://www.telegraph.co.uk/culture/music/classicalmusic/9690472/When-classical-music-is-for-adults-only.html
Verdi or Wagner?
As Giuseppe Verdi and Richard Wagner both celebrate
bicentenaries in 2013, Ivan Hewett asks opera experts from Philip Hensher to
Mark Elder who the better composer is.
http://www.telegraph.co.uk/culture/music/opera/9785708/Verdi-or-Wagner.html
It’s apt that Wagner and Verdi were born in the same year.
They are romantic opera’s two great antipodes, united in stature, but divided
in almost everything else. They embody two completely different outlooks on
life and art, which are rooted in the cultures of their respective nations.
That’s why every German city has a Wagnerstrasse, and every Italian one a Corso
Giuseppe Verdi.
Though their
supporters often did battle, the composers warily avoided each other. Verdi had
a grudging respect for Wagner, but he warned younger Italian composers against
following the Wagnerian path. Wagner wouldn’t even grant Verdi that much
distinction, though there were more Italianate traits in him than he liked to
admit.
Both cast a long
shadow over opera during their lives and afterwards, and in Wagner’s case the
shadow extended even further, to politics and the arts in general.
Two hundred years
later, it’s easy to think the nationalist passions have cooled. But the recent
row over Daniel Barenboim’s decision to open La Scala’s season with Wagner
instead of Verdi showed that they’re still there, just waiting to burst out.
And what about the
wider world? Does one still have to be a Verdian or a Wagnerian, or have we
learned how to love both? I asked some distinguished opera-lovers and
practitioners to give their views.